Preface

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บ Agnes Meyer                                                                 บ
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บ       An orderly existence creates primarily an unconscious relation to     บ
บthe silent progression of the days, seasons, and the music of the spheres.   บ
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บ       - - Out of These Roots 1963                                           บ
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        The functioning rules implied in this system's theory are in a
continually experimental stage, as is all growing methods of music,
therefore it is not to be assumed as definite or to be rendered or used
necessarily exactly as it may stands; some changes and altered methods are
likely to happen.  It implies a different approach to harmony (other than
only tertians or extensions of the chord), by which one can build a
compositional system.  I felt the need to attempt to open up the
possibilities of modality, since it was at first back in and before the
1600's a playable means then gradually it became lessened due to the
triads.  Obviously, not exactly true, but it has fallen off the top ten
list.  I have been observing how modality may be more applicable and have
been segregating from the indeed many possibilities what may and may not
have chances to produce music.  Even through many attempts, I have came up
with the report at hand.  1

        It appears that music has many facets to which one may approach
and enable sounds to produce what may be interpreted as a melody or
enjoyable tones.  The possibilities of the combinations of tones are vast
- take for example a mere seven notes.  If one works in the diatonic means
it will evaluate to 823,543 possible lines of melodies or tones in chords
not including repeated tones.  Much greater availability comes to bare
when applying chromatics, percussive or altered tunings of audible waves.
Now because of such an immence collaboration of conceivable sounds, it may
be viewed a necessity to organize a form of system whereby one may focus
one's attention.  A correct scheme must be apprehended to allow complete
ease in flow of ideas in any form of melody or chord structure.  This, I
believe, also must be a system that grows constructively, wherein thoughts
may added to the development of the system.  That which is truly a
functioning system should yield to tremendous mutabilities. 2 Here, in
my theory, I lend to another avenue of accessibility to modality - hoping
it to be a better, more resolute structure leading to many branches of
fruitful methodologies.

        It does seem unusual to have a theory before practice but my
assumption is to display a possible new angle to modality and
pandiatonics, essentially because the ear would wont for relationships in
the tones played.  I can only hope this system will become used ... 3 I am
willing to entertain any ideas you may care to share and to include in
this report.  Also if any one has written a composition that uses the
functions of this theory, either throughout or in portion(s), and has it
recorded on a sound file, I would like to include your site and link, and
if possibly with a brief description of the work.

        [Anyone may quote from these pages freely, without asking - only
be kind enough to mention the home site and my name.  I will include most
letters and newsgroup submissions (see list below) written concerning this
theory in the Musicologist's and Composer's Comments section - however if
you would prefer me not to indicate so in the correspondence.]

        Newsgroups I write to:

                        rec.music.bluenote
                        rec.music.christian
                        rec.music.classical
                        rec.music.classical.contemporary
                        rec.music.compose
                        rec.music.early
                        rec.music.makers